书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：宝笈三编
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鉴玺
收传印记：蕉林
收传印记：蕉林收藏
收传印记：棠邨审定

题跋资料:

题跋类别：作者款识；作者：陈淳；题跋位置：本幅；款识：溽暑熏蒸苦昼长。葛巾葵扇竹匡牀。花阴水气相撩处。可有人间白玉堂。道复。；书体：草书；全文： 印记：陈氏道复、复生印题籤梁清标旧题籤棠邨真赏 陈白阳设色花卉。棠邨真赏。

主题:

主要主题：山水奇石 主要主题：花草栀枝 主要主题：花草月季　玫瑰　蔷薇玫瑰；次要主题：花草百合花 ；次要主题：花草剪秋罗、石竹 ；其他主题：花草  

技法:

写意 没骨 皴法 

参考资料:

收藏着录： 石渠宝笈三编（御书房），第七册，页3116 收藏着录： 故宫书画录（卷五），第三册，页400 收藏着录： 故宫书画图录，第七册，页231-232 内容简介（中文）： 陈淳（西元一四八三－一五四四年），江苏长洲人。字道复，后来以道复而闻名，改字复甫，号白阳山人。道复才华很高，曾跟文征明学画，极得文征明的讚许。 湖石后众花齐开，有栀子、玫瑰、百合、石竹、红丹等五种。花卉以没骨笔法描绘，栀子、百合这些白花朵则揉钩花点叶法来表现。设色温雅不俗，画出庭园花草秀发丛生，幽馨可掬的感觉。 内容简介（中文）： 此幅用笔、设色均极为精致，自题诗云：「溽暑薰蒸苦昼长。葛巾葵扇竹匡牀。花阴水气相撩处。可有人间白玉堂。道复」。所画乃溽暑季节，群芳争艳的景色。 湖石后众花齐开，有栀子、玫瑰、百合、石竹、红丹等五种。花卉以没骨笔法描绘，栀子、百合这些白花朵则揉钩花点叶法来表现。景物安排费心，设色温雅不俗，有别于晚年放笔写意的习惯，应是五十岁以前的作品。(20100105) 内容简介（英文）： The brushwork and coloring here are quite refined. In the poem, Chen wrote that despite the summer heat that makes days seem long, blossoms burst forth in colors so that the heat is bearable. Thus, we know that Chen has depicted here a scene of flowers on a hot summer day. Behind the garden lake rock is a cluster of 5 different flowering plants, including the jasmine, rose, lily, carnation, and red ixora. The flowers were done in the “boneless” wash method, with the white jasmine and lily in hooked outlines. The delicately arranged scene features elegantly warm colors that differ from the “sketching ideas” style of unbridled brushwork that Chen customarily used in his later years, suggesting that this work is probably from before the age of 50.(20100105) 内容简介（英文）： Ch’en Ch’un (style names Tao-fu and Fu-fu, sobriquet Pai-yang shan-jen) was a native of Ch’ang-chou, Kiangsu. Endowed with great natural ability, Ch’en Ch’un studied painting with Wen Cheng-ming (1470-1559) and received his praise. Behind the ornamental rock, all the flowers have burst in bloom. There are five kinds of summer flowers: gardenias, roses, lilies, carnations, and red peonies. The flowers were painted with the mo-ku, “boneless” method. The white lilies were outlined while the leaves were dotted. The coloring is elegant. The beauty is lifelike, and one can grasp the flowers’ subtle fragrance.